“Serial,” the amazing serialized podcast tracking a murder case with a unique modern storytelling style, is coming to Denver. Julie Snyder, senior producer and co-creator of the show, will give a talk Wednesday, May 20, at the Denver Art Museum Sharp Auditorium.

Snyder will pull back the curtain on how they made a nonfiction podcast feel like a premium cable drama. She will discuss “Serial,” “This American Life” and modern storytelling in a fundraiser for the Colorado Poverty Law Project. Tickets are $35.

In announcing the event, the producers noted the unexpected popularity of their project. “We’ve had 80 million downloads, all over the world. In fact, only two places didn’t download “Serial”: Eritrea and North Korea. We’re kind of stunned, and so grateful for all your support.”

A second season is in the works, after the producers were bombarded with ideas from listeners. “We’ve carefully reviewed more than 1,500 submissions and are excited to announce that we’ve selected our next story. We don’t have a definitive launch date but we’re hard at work on production and hope we can bring it to you by this fall.”

Ira Glass will bring his radio program “This American Life” to select movie theaters nationally next month, live from New York University. A number of Colorado theaters are lined up to carry the show on May 10 at 7:30 p.m.

Writer David Rakoff, comedian Tig Notaro and Snap Judgment host Glynn Washington will join Glass in a stage version of the radio broadcast, this time on the theme “The Invisible Made Visible.”

A much buzzed about story on public radio’s “This American Life,” the Ira Glass series distributed by Public Radio International, contained “significant fabrications” and has been retracted. The story had been “This American Life’s” most popular podcast, with 888,000 downloads, and had spread its message widely as an indictment of working conditions, including child labor abuses, in Apple factories in China.

Daisey lied to me and to This American Life producer Brian Reed during the fact checking we did on the story, before it was broadcast. That doesn’t excuse the fact that we never should’ve put this on the air. In the end, this was our mistake.

The fabrications first came to light when an interpreter for Daisey disputed parts of his story.

Daisey responded that his storytelling wasn’t intended as journalism, but as “theater.”

Joanne Ostrow has been watching TV since before "reality" required quotation marks. "Hill Street Blues" was life-changing. If Dickens, Twain or Agatha Christie were alive today, they'd be writing for television. And proud of it.